There are two types of Aerosmith fans: those who love the band's old, 70s blues infused rock and roll stuff, and those who prefer their more calculated pop rock catalog that began with 1987's Permanent Vacation, and continued right up through 2001's Just Push Play (the band's 2004 covers album, Honkin' on Bobo, doesn't really fit into either, despite it's "back to our roots" claims...that being said, it kicks a*s, and is highly recommended).
Not many people can sit there and say they don't have a preference of the old Aero or the new Aero. Some might sit there and be diplomatic and say they love each equally, but most likely, they're full of it.
As for me? I'm an old school Aero-head, and while the band has had many memorable songs in their post drug years (and two five star albums, along with two four star albums, sandwiched around two one star albums), for me, nothing can match the power of old school Aerosmith at its rock and roll core.
Other old-school fans may point to some of the band's legendary studio efforts, like Toys in the Attic or Rocks. But for me, the album that stands out most in discussing the difference between new and old Aerosmith is 1978's Live! Bootleg. Meant to capitalize on the bootlegging craze of the 1970s while the band took a much needed break from the road, Bootleg isn't perfect, but that's not what you look for on a disc like this. This is raw unadulterated Aerosmith performing most of their best known songs from the 70s.
But it's not just the hits though. In fact, if anything, the performances of songs like Walk This Way and Sweet Emotion leave something to be desired. The talk box effect on Walk This Way is irritating, and while Sweet Emotion is solid, it almost feels like it comes off the tracks at a couple of points. Even the band's ultimate ballad, Dream On, is a bit subpar here (though it should be noted that the worst version of Dream On ever would still be light years ahead of I Don't Wanna Miss a Thing on the preferability scale).
Instead, it's the album cuts and lesser played radio songs that shine here. The opening Back in the Saddle features lead vocalist Steven Tyler in fine form, and the dueling guitar attack of Joe Perry and Brad Whitford sounds great as well. Toys in the Attic is a bit ratty, but if anything, that only helps the charm of this rocker, rather than hurt it.
The deeper cuts on the album reveal the band to be able to be an extremely tight unit when needed. Sick as a Dog has one of Perry's very best un-noticed riffs, and in general is the type of swaggering rocker that fits Tyler's performance skills best. A studio version of Chip Away the Stone took another 10 years to surface after the release of the live version here, but this version is superior in every way.
Even the band's earliest rockers sound extra energized here. Mama Kin features drummer Joey Kramer laying down some really nice fills not found on the studio version, while the album closing Train Kept a Rollin', to this day the band's show closing song, sounds like a runaway freight train. I know it's a Yardbirds song and all, but if this can't be considered Aerosmith's song by now, no other cover by no other band can.
And let us not forget the jam session that extends Lord of the Thighs into blissful seven minute plus territory, or more importantly, the two tracks included from the band's legendary 1973 show at Pall's Mall in Boston. I Ain't Got You is a swinging blues tune that wouldn't sound out of place on Bobo, while Mother Popcorn is bloated, but every second of it is a good time, especially if you're a fan of real rhythm and blues.
While the Classics Live discs aren't bad themselves, and 1998's A Little South of Sanity is rather "eh" at times, Live! Bootleg delivers the goods in just about every place. Sure, the performances of perhaps the band's three best known tunes aren't highlights of the record, but they aren't so bad that they drag it that far down either. Instead, the spotlight is given to other tracks that shine brighter than ever before.
You fans of Jaded and Crying and Eat the Rich can have those songs. Just don't expect me to understand your fascination with them when an album like this is also available for purchase.
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